Buddy

I think that Benjamin Millepied would have attempted to bring the highest standard of contemporary dance to the POB that he could. Before his arrival I attended mainly to see the classics. I do think that the continuation of the classical tradition at the POB is extremely valuable. Hopefully Aurelie Dupont can succeed at both along with some 'modernising' of the workings of the company, which Benjamin Millepied seemed to be attempting. An added comment is that Benjamin Millepied seemed quite interested in having closer ties with the Mariinsky which, once again, hopefully Aurelie Dupont will continue. Added thought: Because she has been at the company much longer and seems quite capable, she may have a much better chance at succeeding.

I would add to the above two comments that I was in Paris several weeks after this very sad occurrence and the city seemed as relaxed and normal as I've ever seen it. There were tiny French flags hanging from the windows of many apartment buildings. I thought this to be a heart touching response along with the feeling that life goes on and so much beauty exists as well. My main reason for going to Paris was to see MyrIam Ould-Braham for the very first time. I was determined to go. The Paris Opera Ballet was opened the next day, I believe, perhaps with the same desire that beauty and the arts continue to flourish and represent the highest aspirations of mankind. It seems that Aurelie Dupont will be the next Director. I don’t follow the POB closely, but I do have some personal feelings. I’ve always appreciated its aura and history of classical fineness. The few performances that I’ve attended there, living part of the year in Switzerland, have mostly been the classical ones. The artist that I’ve come to adore in this style is Myriam Ould-Braham. Aurelie Dupont is her coach. Hopefully this will be a good sign for Myriam Ould-Braham in the six or seven years that she has left before her mandatory retirement. Also I’ve read at least one interview with Aurelie Dupont, but quite awhile ago. I did appreciate what seemed to be her intelligence, sensitivity for the art and desire for change for the good at the POB. I remember one comment that many dancers count when they dance, while she always related directly to the entirety of the music. I do wish Benjamin Millepied much success wherever he goes. I spoke to him very briefly in Saint Petersburg last year and thought him to be quite nice and sincere. One thing that I noticed is that the somewhat difficult system for getting tickets seemed to be improving (as it is at another hallowed institution, the Bolshoi). Interestingly, he seemed very excited about having closer ties with the Mariinsky in his public comments at the reception.

Having watched at least parts of most of this week's performances I have some general impressions. The main realisation is that Kimin Kim is perhaps the most capable dancer that I’ve seen in ability to move from ‘high classical’ to ‘comtempory.’ The Mariinsky’s Yekaterina Kondaurova is possibly at the same level with, interestingly, her husband Islom Baimuradov, Mariinsky Principal Character Artist, being similarly versatile. Kimin Kim can make any of these modern abstract pieces rewatchable simply because of his compelling command of character, expression and his ability to adjust his considerable dance prowess to any situation. For overall presence I would say that I might like him even more for the moment in the contemporary works because of the freedom of expression that they allow him. But please allow me to add that he is as good as anyone in the classics. These shows seem to highlight the difference between ‘classical’ refinement and abstract contemporary. For me all these artist shine most brilliantly in the 'classical' style. Of the contemporary performances there are a few that I’ve enjoyed from all the shows. The first was Vaclav Kunes’ “Getting Ready” with Ekaterina Boulgoutova and Yuri Koundreavtsev (Krasnoyarsk). I like the mood set by the song, the interest of the moves and the artists’ handling of it. http://telepoisk.com/peredacha-tv-archiv/696795891/16-1-2016 (starting at 64:55) One from this week would be Viacheslav Samodourov’s “J’etais malade” because it does have a quirky quality to make it interesting and the Bolshoi’s Daria Khokhlova and Igor Tsvirko do a good job with it. It’s reasonably worthy of the level of artistic fineness that all these artists possess. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1267502/video_id/1432930/viewtype/picture/ Another from this week would possibly be Vladimir Varnava’s “Rive de piere,” perhaps simply because Kimin Kim is in it. (I’ve used some French titles because I got the names from a french speaking forum) http://tvkultura.ru/video/show/brand_id/59616/episode_id/1267537/video_id/1432892/viewtype/picture/ I do like many abstract contemporary pieces, because, for me, for one reason or another, they work. On the other hand I actually appreciate the semi-classical pieces here because they do show off the wonderful, refined beauty in which these artists excel. One that I like for this reason is Sergei Bobrov’s reworking of the Odile duet from Swan Lake with Ekaterina Boulgoutova and Yuri Koundreavtsev (Krasnoyarsk). I think that they are charming and very good in it and I also happen to like it on its own. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1266755/video_id/1431626/viewtype/picture/ One that I like from this week’s show is Assaf Messerer’s “Class Concert” which once again shows off the refined elegance of the Mikhailovsky’s Anastasia Sobolova and Victor Lebedev. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1267539/video_id/1432893/viewtype/picture/

Actually Farouk Ruzimatov (as Simon?) really liked my seventh placed 'raves,' Ekaterina Boulgoutova & Yuri Koudriavtsev (Krasnoyarsk), and gave them a "Yes." Quite a surprise! In addition Brigette Lefevre said.... "that the pair really moved her and she would really like to choreograph something for them. They dance very gently and quietly." (according to Swanilda.) She did give them a "No" but then apparently gave them an extra "Yes" with the other judges. Good going, judges! Added comment: There seems to be some discussion about their commitment to their facial expression. I think that it's fine. It's not huge projection and it doesn't have to be. It is contained, but it's meaningful and heartfelt. More complicated is that it also seems to be more about their relationship, a poetic and good one, than a storybook portrayal of characters. I think that it's not out of line with the message of the work, the love of a man and a woman. The fact that this duet features Odile rather than the obviously loving Odette makes it more difficult for me to express, but I still feel it to be appropriate and totally fine.

Someone correct me if I'm wrong, but I've not heard mention of this program since 2012. I assumed that if it was produced again before this year, it wasn't available for us to see. Thanks again, Swanilda8. I've just started to read this issue of your blog, but look forward to the rest. It's beautifully put together and a generous effort on your part.

This statement from the article above is how I perceived her most prized quality for being given placement in various roles. “One of MCB’s purest classical dancers…. "“Working with you was a pure delight,” Villella wrote in a letter printed in Catoya’s photo book. “I was overwhelmed by your unbelievable passion, dedication, love of dance and your amazing work ethic. What your presence did for Miami City Ballet and more importantly, for our audience, was unparalleled.”" 'Edward's' statement has a feel of the sense of family along with exceptional talent that drew me to the company. I believe that Mary Carmen Catoya expresses this in the article. I'm fascinated and excited by Simone Messmer being given a Principal position. This could be a very good sign for the future direction and success of the company. On the other hand the 'sense of family' and the high level of performance that went with it is something that I hope the company holds on to. It's precious.

According to Sophia at Dansomanie this music was first used in the original Moscow version of Swan Lake and later used in the Bourmeister version.* I assume she means for the Black Swan segment. This is a new version by Sergei Bobrov which seems to work quite well for Ekaterina Boulgoutova & Yuri Koudriavtsev. I'm enjoying it very much along with their performance. I keep trying to put my finger on what I like so much about Ekaterina Boulgoutova & Yuri Koudriavtsev's presentation. One thing is that at times there's a loose, almost novice feel to Ekaterina Boulgoutova's dancing, giving it an innocent freshness, but this in turn is highly underpinned by such a fine mastery of refined technique. * The original Moscow Swan Lake and Bourmeister uses of this music are more or less confirmed here. https://en.wikipedia.org/wiki/Tschaikovsky_Pas_de_Deux http://www.theguardian.com/culture/2001/dec/27/artsfeatures.arts

I join macnellie in looking forward to Swanilda8's continued comments along with the generously translated insights of the judges. Interestingly the seventh placed couple, Ekaterina Boulgoutova & Yuri Koudriavtsev (Krasnoyarsk), continue to attract me very much. They are probably in seventh place because of the very commendable technical consistency of the others. Yet these two have some very fine qualities. They are young, fresh and natural. They have a very sympathetic connection with each other and with us. In addition there is a loveliness to their artistry. There is an underlying fineness and delicacy to Ekaterina Boulgoutova. Yuri Koudriavtsev has a handsomely similar and supportive quality with a very fine nobleness, likability and believability that reminds me of the Mariinsky’s noteworthy new First Soloist, Xander Parish. Along with a basic fineness of technical expression is an even more endearing and compelling overall beauty to their performance. I look forward to seeing the rest of their performances and hope that this charming couple from faraway Siberia does get recognised among the other more acknowledged and highly talented couples. They did make it onto the program, so someone does really like them. http://tvkultura.ru/video/show/brand_id/59616/episode_id/1266755/video_id/1431626/viewtype/picture/ [slight clarification made to one sentence]

I've seen very fine qualities in all of them and much of the choreography is also very fine. I look forward to seeing more. It's a great chance to experience such fine artistry.

So far this works for me. http://www.ontvtime.ru/index.php?option=com_content&task=view_record&id=1490&start_record=2016-01-16-20-33-38 This one seems better because you can control the fast forward/backward more precisely and is more likely to remain online for future viewing. It starts at about four minutes into the video. http://telepoisk.com/peredacha-tv-archiv/696795891/16-1-2016 (Thanks once more to Sophia at Dansomanie for this information) Added: Drew, the blocked video of Batoeva and Latypov ("Without" by Benjamin Millepied) starts at 93:20 on the second one. Another one that was omitted from the excerpts, "Getting Ready," is at 64:55. This one is with Ekaterina Boulgoutova and Youri Koudriavtsev (Krasnoyarsk) and although it got the "da!" from only two judges, Svetlana Zakharova (that's good enough for me) and Brigitte Lefevre, I really enjoyed much of it. It does have some aggressive imagery toward the woman, which I never care for, but for the most part it is rather inventive and interesting. Also several of the women are borderline 'thinner than thin.' I remember very well from 2012 the appearance of now Bolshoi Principal, Olga Smirnova. One thing that I continue to like very much about her is her more healthy looking weight condition and her wholesomeness in general.

First night results. **** Nadejda Batoeva et Ernest Latypov (Théâtre Mariinsky) Anastasia Soboleva et Victor Lebedev (Théâtre Mikhaïlovsky) *** Daria Khokhlova et Igor Tsvirko (Théâtre Bolchoï) Renata Shakirova et Kim Kimin (Théâtre Mariinsky) Inna Bilash et Nikita Chetverikov (Théâtre Académique d'Etat Tchaïkovsky de Perm) Midori Terada et Koya Okawa (Théâtre Académique d'Etat Moussa Djalil de Kazan) ** Ekaterina Boulgoutova et Youri Koudriavtsev (Théâtre d'Etat de Krasnoyarsk)

I forgot to mention.... Je l'adore !

Made Principal ! http://www.bolshoi.ru/en/persons/ballet/1616/ (Thanks once again to the all seeing Sophia at Dansomanie for posting this)

Saw Myriam Ould-Braham for the first time last night. She was Nikiya in La Bayadere. I thought that she was Magnificent ! The entire production had many outstanding highlights. The Shades Act was wonderful. Francois Alu as Solor was excellent. Haven't read the reviews, but the theatre was packed and the applause was thunderous.

Jack, I saw them perform "Ballet Imperial” at least twice, July, 2011, in Paris. “Oh, boy, could they!” — Yes, indeed! I wrote this elsewhere at the time. “This performance of "Ballet Imperial" was perhaps the finest expression that I've yet experienced of these dancers' remarkable ability to seem loose as can be and yet so totally together and refined at the same time. “It was Transcendent, Exhilarating, Magnificent and Breathtaking ! “ Not only can they perform Balanchine like this, but much other choreography as well. I remain a great admirer of the other works that Edward presented and the dancers ability to adapt and shine in these. To get a sense of the times, Jack, as you put it “in Villella's day.” In Paris I went to the last four performances and wrote this. "After 18 days ( 14 different works ! ) of almost nonstop performing (two, two day breaks) they were as full of energy and doing as well as I've ever seen them. “The audiences loved them ! After each performance and numerous curtain calls, the stage curtain had to be lit up to stop the applause ! “

For me, there was an aura to Edward's (Villella's) company. It was Edward's personality, fame, ability and sense of rightness and quality. For us spectators he was omnipresent in the audience. In his often warmhearted way he radiated a love for what he was doing and for his dancers. You could get this from all his pre-performance talks as well as from his personal conversation. All apparently was not perfect as two waves of dancers disappeared from the company during my viewing experience. One of these was probably for economic reasons. Yet things carried on, the company continued to feel like family and the level of talent remained enthusiastic and outstanding. A feeling of family. For instance one lady next to me referred casually to Sara and Leigh-Ann Esty as "the twins." My hope is that this warmth and level of talent can be maintained. Also Simone Messmer changes the ballgame completely, for me. I think there is the possibility of seeing all-time greatness from her. Credit to Lourdes Lopez for giving her this chance. Added comment: Also Edward didn't seem as concerned about what the community 'might' like best as much as he did for the quality of what he was doing. I give him credit for this. Added, added comment: I think that many of the things that Edward did right, he did very right. This may have been reflected in audience attendance. Somewhere they may have known that they had a world class company, possibly one the best.

Thanks, Jack. Jack and Cristian I found Viscera to be a very fine, well crafted and entertaining work. I considered it to be 'classically oriented Twyla Tharp' in character. I thought it was performed brilliantly by the extremely versatile and greatly gifted MCB dancers. I think that it shows the range that this company is capable of and why it is so outstanding. My love is the Mariinsky with its standard of refined enchantment. Yet I've been wowed from the first time that I saw the MCB with its equally loveable sense of family, youthfulness, high artistry, high energy (when called for), range and exceptional talent.

I saw the Miami City Ballet perform Viscera at least twice when Edward (Villella) debuted it and I really enjoyed it.

My heartfelt feeling about Simone Messmer is that she's A Genius of Artistic Invention and Beauty in the same manner as Veronika Part. I hope that she shines at Miami City Ballet and I look forward to seeing her perform as soon as possible. Congratulations to her for being opening night's White Swan. This lead photo brings this home for me. http://www.miamiherald.com/entertainment/ent-columns-blogs/jordan-levin/article41326071.html

I try not to give too much weight to this sort of thing, but I do think that this may be the case, Natalia. A great performance is a great performance and a great artist is a great artist no matter what the title. I saw several of this weekend's Raymondas and perhaps the finest performance was the very brief Clemence solo yesterday by Kristina Shapran. It was breathtaking. I bought tickets before the casts were announced and they consisted of two nights in a row featuring Oxana Skorik and one featuring Anastasia Matvienko as the ballerinas. Oxana Skorik was artistically magnificent showing remarkable command and maturity. Congratulations to her. All in all it was a real pleasure once again to see the remarkable artistry and feel the warmth of this great group of artists.

Ok, you asked for it. "In 1997, the Palau de la Música Catalana was declared a UNESCO World Heritage Site along with Hospital de Sant Pau. Today, more than half a million people a year attend musical performances in the Palau that range from symphonic and chamber music to jazz and Cançó (Catalan song). Design[edit] "The design of the Palau is typical of Catalan modernism in that curves predominate over straight lines, dynamic shapes are preferred over static forms, and rich decoration that emphasizes floral and other organic motifs is used extensively. In contrast to many other buildings built in the modernisme style, however, it must also be said that the design of the Palau is eminently rational. It pays strict attention to function and makes full use of the most up-to-date materials and technologies available at the beginning of the 20th century (e.g., steel framing). As Benton (1986, 58) has pointed out, "To eyes unaccustomed to the architecture of Barcelona, the impression of a riot of ornament lacking any logic or control seems overwhelming. And yet the building follows exactly the exhortations of the [architectural] rationalists. The structure, in brick and iron, is clearly expressed." Actually, its walls are the first example of curtain wall structures. [This last sentence I would want to verify]. The wealthy citizens of Barcelona, who were becoming ever more sympathetic to the Renaixença at the time the Palau was built, asked its architect for building materials and techniques that symbolized the Catalan character. In response, he commissioned and gave great creative freedom to a variety of local artisans and craftsmen to produce the fabulous ornamentation, sculpture, and decorative structural elements for which the Palau is famous." https://en.wikipedia.org/wiki/Palau_de_la_Música_Catalana (Some other nice pictures are included.) I'm sure you'll run into much of the fascinating architecture of Antoni Gaudi as well. Let us know what you think of it. Have a fine vacation.

This seems to have caused a few smiles at BalletcoForum so I thought I'd bring the public domain part over here. http://improveverywhere.com/2015/08/04/unexpected-ballet/#more-7974 (thanks to Janet McNutty at BalletcoForum for finding this)

So sorry to hear this, Birdsall. For eleven years I've walked back to my hotel, about 20 minutes from the Mariinsky, alone at night along an almost deserted canal side street from the performances (approx. 10 each visit) and I've never been bothered. I often see young women coming home from work at the same time, which is one reason I decided that it was ok. I see young women during the day jumping into cars ( a form of pay for the ride hitchhiking that is very common) without any sign of concern. Sometimes at night I'll pass a group of young guys and I'm not totally sure what will happen, but so far nothing has. As you've mentioned, I've found folks in Saint Petersbrug to be very nice and helpful. I guess what happened to you could happen anywhere. Again so sorry to hear this and I hope that you'll be as fine as possible and will enjoy many more fine ballets performances, many of them in Saint Petersburg if you so chose.

While searching through Fokine Swan videos I found a rather remarkable one. It was performed by Yulia Makhalina the beginning of this year. I had the great pleasure of seeing her dance the pas de deux from Anna Karenina in 2012 at the Mariinsky. It brings to mind several discussions at Ballet Alert! touching on the value of ‘maturing’ artists and artistry. She is another excellent example. I have no idea if she is scheduled to do anything at this year’s White Nights Festival, but if she is I would consider it another fine occasion to view a ‘maturing’ artist who in many respects just continues to grow more beautiful.

Ok, Birdsall, I've just choreographed my first work (on Anastasia Kolegova, in my head, she doesn't know about it). It's based on Fokine's Swan (happy ending of course) as are all my dream solos because of its pure beauty of motion. It’s set to a slowed down instrumental version of The Beatles "If I Needed Someone." The speed of the video will have to be adjusted in places. George Balanchine stand back! Please keep the inspirations coming in. About Alina Somova, I totally agree. Oksana Skorik and Yekaterina Chebykina we’ll have to talk more. I love their artistry. Continue to have what I hope is a great trip.